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That was of course on London Decca, then on Dutton/Vocalion, and then Decca Eloquence with the excellent NPO.
I'm foxed though by the OP's suggestion it was a 'compilation' album.
There was also a performance of the concert version as part of the Ben-Hur orchestral suite, on a CD with the Bavarian Radio Youth Orchestra in a Berlin concert, and another on the Valois/Naif label with the North Hungarian SO.
And of course, the piece has been included in two of the three MGM albums, Rome and Nuremberg, all in the FSM BH box set. It's also on Kunzel's Telarc SACD of the 'choral suites' where much more of the orchestrational details leap out.
The concert version has some changes, is faster, has the full original (not in the film) coda, has the second half lifted an octave, and has changes in the orchestration, and some bars deleted, some added, and is more prominently accelerando.
There's also a hard to get French recording with the so-called 'Norman Maine Orchestra' which is edited and scored for a small orchestra.
Actually, check the Rozsa Society's site with its complete downloadable discographies, come to think on it.
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P.S. - Stanley Black recorded two 'Ben-Hur' suites, one with the London Festival Orchestra and the other with the BBC Concert Orchestra. Neither contained the galley music, nor did Ron Goodwin's suite.
Whatever the compilation was, it's sure to be the NPO Decca performance featured in some sort of compilation album format.
The original poster would do well to pick up the London recording we've mentioned above, because it's sublime and audiophile. It also contains 'new' material insofar as the 'Miracle and Finale' is a previously unrecorded version which Rozsa had originally scored, it's on the scoresheets, but was never recorded at the FSM original sessions.
He'd also do well to pick up the FSM 5-disc set, which has all the alternative cues and three albums from MGM, two of which include versions of that concert galley slaves piece.
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DEAR pp132 --
With all due respect, and acknowledging that what you are saying is true as far as it goes: it goes only so far as film music is concerned, and yet there are things which pertain to film music which do not necessarily pertain to the overall subject of music purely as music, and I think this is the context in which Rozsaphile was writing. As fate would have it, the following appeared in yesterday's L.A. Times, and I offer it here FWIW:
The article by Dana Ferguson recounts the memories of mezzo soprano Candice Burrows of working with Leonard Bernstein on his "Songfest" cycle. "Bernstein taught her (a) lesson. After she'd become accustomed to following his lead, the maestro stepped back during one performance so that when Burrows sang, he was out of her sight. Rather than relying on his direction, she was forced to tap her own knowledge of the music. 'It was magic. After the show he said, "Every night do something different,"' Burrows said. '"Music is alive and it should never be the same."'"
http://www.latimes.com/entertainment/arts/culture/la-et-cm-songfest-bernstein-tribute-20130707,0,2423448.story
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Posted: |
Jul 8, 2013 - 6:50 PM
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By: |
pp312
(Member)
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DEAR pp132 --
With all due respect, and acknowledging that what you are saying is true as far as it goes: it goes only so far as film music is concerned, and yet there are things which pertain to film music which do not necessarily pertain to the overall subject of music purely as music, and I think this is the context in which Rozsaphile was writing. As fate would have it, the following appeared in yesterday's L.A. Times, and I offer it here FWIW:
The article by Dana Ferguson recounts the memories of mezzo soprano Candice Burrows of working with Leonard Bernstein on his "Songfest" cycle. "Bernstein taught her (a) lesson. After she'd become accustomed to following his lead, the maestro stepped back during one performance so that when Burrows sang, he was out of her sight. Rather than relying on his direction, she was forced to tap her own knowledge of the music. 'It was magic. After the show he said, "Every night do something different,"' Burrows said. '"Music is alive and it should never be the same."'"
http://www.latimes.com/entertainment/arts/culture/la-et-cm-songfest-bernstein-tribute-20130707,0,2423448.story
Hi, Preston. Great to see you in the fray again.
Yes, I was aware Rozsaphile was talking more in the classical music field, where there's certainly room for greater interpretation. And even as regards film music I certainly wouldn't want to stifle the creative spirit or deny there's more than one way to skin a cat. In fact on that subject I actually have a foot in both camps in that I believe most soundtracks are better edited and made more "home listening" friendly, whilst I simultaneously sympathise with the fan who wants every note exactly as heard in the film, even if it sounds to the less committed somewhat repetitious and nonsensical. I know Rozsaphile would like to see more creativity in film music re-recordings, but that's a slippery slope and takes us into that old "at what point are the composer's intentions being subverted by the interpreter's "vision" debate that's haunted "pure music" aficionados since time began. I wish I had an answer. In terms of "pure music", I believe music is indeed fluid and should be subject to interpretation; at the same time I have a sneaky feeling that ultimately there's only one "correct" interpretation for each listener, and we all know it when we hear it. In terms of film music...wow, I'm just glad I'm not a producer. Those poor guys sure take a beating sometimes, but then that's the price of putting out a commercial product with certain claims attached to it.
In any case I only pick on Rozsaphile because I know he'll let me make outrageous assertions and vague assumptions and not be too hard on me. I take advantage, you see. 
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Well, if he'll let you, I'll let you.
Thanks for the greeting, and please forgive my inverting your numbers.
Cheers,
PNJ
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